Someone knocks at the door of an apartment to borrow salt or sugar, people run into each other in the elevator, and in this way become inscribed in the spectator's memory.

You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.

Interior liberty is universal.

Of course, you could, no doubt, call my going to film school the biggest mistake I ever made.

The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.

(When asked what a director does) I help.

If I have a goal, then it is to escape from this literalism. I'll never achieve it; in the same way that I'll never manage to describe what really dwells within my character, although I keep on trying.